Subject: Trombone-l Digest, Vol 17, Issue 21 Date: Wednesday, June 21, 2006 12:00 PM From: trombone-l-request@maillists.samford.edu Reply-To: trombone-l@maillists.samford.edu To: Conversation: Trombone-l Digest, Vol 17, Issue 21 Send Trombone-l mailing list submissions to trombone-l@maillists.samford.edu To subscribe or unsubscribe via the World Wide Web, visit http://maillists.samford.edu/mailman/listinfo/trombone-l or, via email, send a message with subject or body 'help' to trombone-l-request@maillists.samford.edu You can reach the person managing the list at trombone-l-owner@maillists.samford.edu When replying, please edit your Subject line so it is more specific than "Re: Contents of Trombone-l digest..." Today's Topics: 1. Re: Music Stand (conn60h) 2. Re: Short Trombone Fanfares? (Frank Darmiento) 3. Re: Music Stand (Stan Brager) 4. Towards Cultural Oblivion (Bill Dinwiddie) 5. Re: Towards Cultural Oblivion (BJMCHAFFIE@aol.com) 6. Re: Towards Cultural Oblivion (dslide13@aol.com) 7. Re: Towards Cultural Oblivion (Bill Dinwiddie) 8. Re: Oblivion (Bill Dinwiddie) 9. Re: Towards Cultural Oblivion (Jeff Albert) 10. Re: Towards Cultural Oblivion (dslide13@aol.com) ---------------------------------------------------------------------- Message: 1 Date: Tue, 20 Jun 2006 13:11:19 -0500 From: "conn60h" Subject: Re: [Trombone-l] Music Stand To: Cc: Stan Brager Message-ID: <005e01c69494$ee5004d0$1c7662d1@WORKSTATION2> Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Which stand are you looking at? There are quite a few Starline models. Let us know which one you want. The K&M site is --- http://www.k-m.de/Home.42.0.html?&no_cache=1&L=1 Ken Leginchin ----- Original Message ----- From: "Stan Brager" To: "Trombone-L" Sent: Monday, June 19, 2006 1:57 PM Subject: [Trombone-l] Music Stand > I'm want to replace an old hand-me-down worn music stand for use when > travelling (it's sharp edges have cut me once too many times). A friend > has > a K&M Starline model which he got as a present which is quick to setup, > light-weight and would match my K&M trombone stand . Where can I get a > this > stand since the local music shops don't carry this line? By the way, what > is > the approximate cost? > > Thanks; > > Stan > Stan Brager > Trombonist-in-Training > > > ------------------------------ Message: 2 Date: Tue, 20 Jun 2006 11:50:54 -0700 (PDT) From: Frank Darmiento Subject: Re: [Trombone-l] Short Trombone Fanfares? To: David OLIVER Cc: Trombone-L Message-ID: <20060620185054.57328.qmail@web37303.mail.mud.yahoo.com> Content-Type: text/plain; charset=iso-8859-1 David - One of my fanfares for four trombones, "Trombone Intrada," is published by Cimarron Music Press. If you need only a few bars you can probably pick an 8 bar section somewhere and it should work. Otherwise, the whole piece is maybe a couple of minutes. Here's the link: www.cimarronmusic.com Search for "Darmiento" and then look for "Trombone Intrada." $15. Frank --- David OLIVER wrote: > I just found out that I may need to come up with > some short fanfares for > trombone (as opposed to trumpet), as one of my music > groups is playing at a > graduation soon. > > Does any have a few fanfares in bass clef that are > short and sweet? > > I suppose I could knock out something as well. > Preferrably it would be for > the trombone section (Trombone 1 - 3). > > If you've got something in pdf I'll take it! > > Thanks. > > David Oliver > Broomfield, CO USA > > > _______________________________________________ > Trombone-l mailing list > Trombone-l@maillists.samford.edu > http://maillists.samford.edu/mailman/listinfo/trombone-l > Frank T. Darmiento Scottsdale, Arizona frank@darmiento.com www.SackbutMusic.com --------------------------- Frank Darmiento's latest jazz CD 'Sudden Impact' is available from Summit Records at: http://www.summitrecords.com/product.tmpl?SKU=339 __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ Message: 3 Date: Tue, 20 Jun 2006 12:56:30 -0700 From: "Stan Brager" Subject: Re: [Trombone-l] Music Stand To: "conn60h" , "Trombone-L" Message-ID: <000e01c694a3$a6e5dca0$6501a8c0@jazzman> Content-Type: text/plain; charset="iso-8859-1" Thanks, Ken. The model I wanted was the Starline 10810. But, in my youthful haste, I bought the Starline 107 which was more expensive. However, the 107 was just a bit lighter and smaller in length (uses less material and augment price... just joking... or... ). I believe that it would survive the next Los Angeles quake. I'm gonna like it. Stan ----- Original Message ----- From: "conn60h" To: Cc: "Stan Brager" Sent: Tuesday, June 20, 2006 11:11 AM Subject: Re: [Trombone-l] Music Stand > Which stand are you looking at? There are quite a few Starline models. > Let us know which one you want. The K&M site is --- > > http://www.k-m.de/Home.42.0.html?&no_cache=1&L=1 > > Ken Leginchin > > > > ----- Original Message ----- > From: "Stan Brager" > To: "Trombone-L" > Sent: Monday, June 19, 2006 1:57 PM > Subject: [Trombone-l] Music Stand > > > > I'm want to replace an old hand-me-down worn music stand for use when > > travelling (it's sharp edges have cut me once too many times). A friend > > has > > a K&M Starline model which he got as a present which is quick to setup, > > light-weight and would match my K&M trombone stand . Where can I get a > > this > > stand since the local music shops don't carry this line? By the way, what > > is > > the approximate cost? > > > > Thanks; > > > > Stan > > Stan Brager > > Trombonist-in-Training > > > > > > > > ------------------------------ Message: 4 Date: Wed, 21 Jun 2006 08:29:45 -0500 From: "Bill Dinwiddie" Subject: [Trombone-l] Towards Cultural Oblivion To: "List Trombone" Message-ID: <006801c69536$c2f58240$0a00a8c0@av> Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Received this from friend Jim Dipasquale: Subject: "Towards Cultural Oblivion" ANOTHER RECORD CRASH By Norman Lebrecht scena.org June 12, 2006 A large chunk of masonry fell off the music industry last week when Warner shut down its classical operation, throwing 40 artists onto the street. The execution was conducted in the usual way, without the slightest consideration for cultural consequences. An empty suit in Hollywood rang a tight-run office in London and told them to stop everything and sack the team - all except those who will be needed for recycling the backlist as supermarket labels and download fodder. No argument was permitted, for such elevated decisions are always irrevocable. The fact that Warner Classics has been profitable in each of the past five years and more progressive than its competitors cut no cake with a parent corporation that is yoked to floundering AOL and contemplating merger with EMI. Grappling with these big deals, chairman Edgar Bronfman Jr. had no patience for the prestos and adagios of an offshore accessory that contributes barely two percent of pop-music revenues. The tragic fact of the matter is that giant media players are pulling out of minority art, a myopic strategy that gives them no chance of tapping the next quirk in public taste or contributing to cultural evolution. Warner bought its way into classics just ahead of the Three Tenors 1990 boom and scored an eight-million follow-up CD at the Los Angeles World Cup. It gobbled up one independent after another - Erato in France, Teldec in Germany, Finlandia, Deutsche Harmonia Mundi - and went into overproduction along with all the others in the 1990s until the roof fell in and the outlet was slimmed down to a single stream of mainstream classics. That, too, has now been deemed surplus to requirements. Warner's exit leaves just three major labels in the classical racks - EMI, Sony-BMG and Deutsche Grammophon/Decca - and much of what they produce nowadays cannot be remotely classified as classical. The brunt of the Warner switch-off is being borne by artists. Senior figures like Daniel Barenboim and William Christie took the news with a fatalistic shrug, having made enough records over the years to live off rolling royalties. But there was no softening the blow for soloists in their 20s and 30s who were just starting to make a name - the quicksilver Canadian violinist Leila Josefowitz, the formidable Russian pianist Nikolai Lugansky, the thoughtful British fiddler Daniel Hope. The BBC Symphony Orchestra's new era with its Czech chief Jiri Belohlavek has been taken off the record with just one Dvorak disc in the can; the eclectic Sakari Oramo in Birmingham will not be given another chance to exhume obscure British composers such as the intriguing John Foulds. Karita Mattila, Susan Graham and Monica Groop are among the singing casualties. Anu Tali, an enterprising, stunningly attractive young Estonian with her own Nordic Symphony Orchestra, has been thrown on the scrapheap. Even by present-day corporate standards, the shutdown was as brutal as it gets. The irony is that Warner Classics, under the thoughtful Matthew Cosgrove, was doing almost everything right. Avoiding vapid film tracks, tacky crossover projects and sex-bombs who could pout but not play, Cosgrove, 45, combined aesthetic sensibility with an eye for market opportunity. He had a higher count of living composers than any other label, including a million-selling CD of Henryk Gorecki's third symphony and the projected complete works of Gyorgy Ligeti (now discontinued). When Tony Blair visited the Pope this month, the gift he presented him was a Warner set of Mozart concertos. When the BBC broadcast Barenboim's set of Wagner's Ring in a day over Easter, Cosgrove offered free downloads, taking a bigger stride into I-pod delivery than any of his plodding rivals. Whatever Bronfman's reasons for axing Warner Classics, failure was not one of them. But then performance, financial or artistic, plays little part in the running of the music industry, where the big egos belong to the suits upstairs and the artists get by as best they can in a never-ending round of executive musical chairs. EMI has just announced a successor to its deceptively subtle President of Classics, Richard Lyttelton, who is being shoved into early retirement in his mid-50s despite sustaining high profits and prestige for almost two decades. Lyttleton, fourth son of a British Earl a former Sixties disco owner, got along famously with everyone from Simon Rattle to Angela Georghiu to Vanessa-Mae. His one social failure was Alain Levy, the humourless chairman of EMI Music and his direct boss, who wanted him out. So Lyttelton has been expensively ousted in favour of Costa Pilavachi, a Greek-Canadian of equal conviviality who was best mates with Valery Gergiev, Andrea Bocelli and Cecilia Bartoli so long as he was President of Decca - that is, until a couple of months ago when he was removed in an ego spat by his New York boss, Chris Roberts. Roberts sent a Serb from Deutsche Grammophon to run Decca, leaving a highly-paid A&R gap at DG which, I understand, is going to be filled by none other than Matthew Cosgrove, newly released by Warner. So, when the music stops, all the executives have good seats (or payoffs) and it's only the artists that suffer. Meanwhile, the actual production of classics by major labels has dwindled to about three-dozen a year and the only way most artists can get on record is by paying for it themselves or authorising free downloads. That, whatever the soft talk of corporate press releases, is the state of play in the music industry of 2006, an industry that is looking more and more like the kitchen cabinet of Admiral Doenitz, waiting for a junior Allied officer to come along and arrest the fantasists around the table. It would be a farce if it wasn't so sad, for the loss is wholly ours. Classical music used to be the industry's core resource. The Beatles could never have developed their sophisticated sound world without the symphonic expertise on hand at Abbey Road and most subsequent groups are indebted, wittingly or not, to the stern disciplines and mathematical logic of Bach, Beethoven and Brahms. 'People in the record business understood that classics was where we all came from - the basis of what we do,' a former head of Sony Europe told me recently. 'We were happy to carry on making records in that area, even losing a bit of money. But Wall Street didn't like that. If investors see sentiment, they make heads roll.' This month's Sony-BMG release sheet consists of movie puffs and crossover - not one classical CD. The abolition of Warner Classics is another small step towards cultural oblivion. Forwarded by Bill Dinwiddie billdin@comcast.net ------------------------------ Message: 5 Date: Wed, 21 Jun 2006 10:08:57 EDT From: BJMCHAFFIE@aol.com Subject: Re: [Trombone-l] Towards Cultural Oblivion To: billdin@comcast.net, TROMBONE-L@server5.samford.edu Message-ID: <514.d93211.31caacf9@aol.com> Content-Type: text/plain; charset="US-ASCII" Wasn't Bronfman in the whiskey business? beldon wade ------------------------------ Message: 6 Date: Wed, 21 Jun 2006 10:21:45 -0400 From: dslide13@aol.com Subject: Re: [Trombone-l] Towards Cultural Oblivion To: billdin@comcast.net, TROMBONE-L@server5.samford.edu Message-ID: <8C8635528C2B9B5-1A2C-2443@mblk-d12.sysops.aol.com> Content-Type: text/plain; charset="us-ascii"; format=flowed My initial response to this was to think, "Good. We're moving in retrograde to a time when people had to experience live musicians in order to get their artistic fix." As musicians, if we can strategize on that premise then we may actually be better off. How many weddings feature recordings of string quartets instead of actual musicians? The danger will be the potential gigs playing inside elevators. David Gibson trombonist/educator www.jazzbone.org -----Original Message----- From: Bill Dinwiddie To: List Trombone Sent: Wed, 21 Jun 2006 08:29:45 -0500 Subject: [Trombone-l] Towards Cultural Oblivion Received this from friend Jim Dipasquale: Subject: "Towards Cultural Oblivion" ANOTHER RECORD CRASH By Norman Lebrecht scena.org June 12, 2006 A large chunk of masonry fell off the music industry last week when Warner shut down its classical operation, throwing 40 artists onto the street. The execution was conducted in the usual way, without the slightest consideration for cultural consequences. An empty suit in Hollywood rang a tight-run office in London and told them to stop everything and sack the team - all except those who will be needed for recycling the backlist as supermarket labels and download fodder. No argument was permitted, for such elevated decisions are always irrevocable. The fact that Warner Classics has been profitable in each of the past five years and more progressive than its competitors cut no cake with a parent corporation that is yoked to floundering AOL and contemplating merger with EMI. Grappling with these big deals, chairman Edgar Bronfman Jr. had no patience for the prestos and adagios of an offshore accessory that contributes barely two percent of pop-music revenues. The tragic fact of the matter is that giant media players are pulling out of minority art, a myopic strategy that gives them no chance of tapping the next quirk in public taste or contributing to cultural evolution. Warner bought its way into classics just ahead of the Three Tenors 1990 boom and scored an eight-million follow-up CD at the Los Angeles World Cup. It gobbled up one independent after another - Erato in France, Teldec in Germany, Finlandia, Deutsche Harmonia Mundi - and went into overproduction along with all the others in the 1990s until the roof fell in and the outlet was slimmed down to a single stream of mainstream classics. That, too, has now been deemed surplus to requirements. Warner's exit leaves just three major labels in the classical racks - EMI, Sony-BMG and Deutsche Grammophon/Decca - and much of what they produce nowadays cannot be remotely classified as classical. The brunt of the Warner switch-off is being borne by artists. Senior figures like Daniel Barenboim and William Christie took the news with a fatalistic shrug, having made enough records over the years to live off rolling royalties. But there was no softening the blow for soloists in their 20s and 30s who were just starting to make a name - the quicksilver Canadian violinist Leila Josefowitz, the formidable Russian pianist Nikolai Lugansky, the thoughtful British fiddler Daniel Hope. The BBC Symphony Orchestra's new era with its Czech chief Jiri Belohlavek has been taken off the record with just one Dvorak disc in the can; the eclectic Sakari Oramo in Birmingham will not be given another chance to exhume obscure British composers such as the intriguing John Foulds. Karita Mattila, Susan Graham and Monica Groop are among the singing casualties. Anu Tali, an enterprising, stunningly attractive young Estonian with her own Nordic Symphony Orchestra, has been thrown on the scrapheap. Even by present-day corporate standards, the shutdown was as brutal as it gets. The irony is that Warner Classics, under the thoughtful Matthew Cosgrove, was doing almost everything right. Avoiding vapid film tracks, tacky crossover projects and sex-bombs who could pout but not play, Cosgrove, 45, combined aesthetic sensibility with an eye for market opportunity. He had a higher count of living composers than any other label, including a million-selling CD of Henryk Gorecki's third symphony and the projected complete works of Gyorgy Ligeti (now discontinued). When Tony Blair visited the Pope this month, the gift he presented him was a Warner set of Mozart concertos. When the BBC broadcast Barenboim's set of Wagner's Ring in a day over Easter, Cosgrove offered free downloads, taking a bigger stride into I-pod delivery than any of his plodding rivals. Whatever Bronfman's reasons for axing Warner Classics, failure was not one of them. But then performance, financial or artistic, plays little part in the running of the music industry, where the big egos belong to the suits upstairs and the artists get by as best they can in a never-ending round of executive musical chairs. EMI has just announced a successor to its deceptively subtle President of Classics, Richard Lyttelton, who is being shoved into early retirement in his mid-50s despite sustaining high profits and prestige for almost two decades. Lyttleton, fourth son of a British Earl a former Sixties disco owner, got along famously with everyone from Simon Rattle to Angela Georghiu to Vanessa-Mae. His one social failure was Alain Levy, the humourless chairman of EMI Music and his direct boss, who wanted him out. So Lyttelton has been expensively ousted in favour of Costa Pilavachi, a Greek-Canadian of equal conviviality who was best mates with Valery Gergiev, Andrea Bocelli and Cecilia Bartoli so long as he was President of Decca - that is, until a couple of months ago when he was removed in an ego spat by his New York boss, Chris Roberts. Roberts sent a Serb from Deutsche Grammophon to run Decca, leaving a highly-paid A&R gap at DG which, I understand, is going to be filled by none other than Matthew Cosgrove, newly released by Warner. So, when the music stops, all the executives have good seats (or payoffs) and it's only the artists that suffer. Meanwhile, the actual production of classics by major labels has dwindled to about three-dozen a year and the only way most artists can get on record is by paying for it themselves or authorising free downloads. That, whatever the soft talk of corporate press releases, is the state of play in the music industry of 2006, an industry that is looking more and more like the kitchen cabinet of Admiral Doenitz, waiting for a junior Allied officer to come along and arrest the fantasists around the table. It would be a farce if it wasn't so sad, for the loss is wholly ours. Classical music used to be the industry's core resource. The Beatles could never have developed their sophisticated sound world without the symphonic expertise on hand at Abbey Road and most subsequent groups are indebted, wittingly or not, to the stern disciplines and mathematical logic of Bach, Beethoven and Brahms. 'People in the record business understood that classics was where we all came from - the basis of what we do,' a former head of Sony Europe told me recently. 'We were happy to carry on making records in that area, even losing a bit of money. But Wall Street didn't like that. If investors see sentiment, they make heads roll.' This month's Sony-BMG release sheet consists of movie puffs and crossover - not one classical CD. The abolition of Warner Classics is another small step towards cultural oblivion. Forwarded by Bill Dinwiddie billdin@comcast.net _______________________________________________ Trombone-l mailing list Trombone-l@maillists.samford.edu http://maillists.samford.edu/mailman/listinfo/trombone-l ________________________________________________________________________ Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ------------------------------ Message: 7 Date: Wed, 21 Jun 2006 09:30:33 -0500 From: "Bill Dinwiddie" Subject: Re: [Trombone-l] Towards Cultural Oblivion To: "List Trombone" Message-ID: <000e01c6953f$415f9820$0a00a8c0@av> Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Beldon Wade wrote: Wasn't Bronfman in the whiskey business? **************************************************** Yes, I believe that Seagram's is his family business. Bill Dinwiddie billdin@comcast.net ------------------------------ Message: 8 Date: Wed, 21 Jun 2006 09:32:41 -0500 From: "Bill Dinwiddie" Subject: Re: [Trombone-l] Oblivion To: "List Trombone" Message-ID: <001401c6953f$8d896d70$0a00a8c0@av> Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Dave Gibson wrote: "My initial response to this was to think, "Good. We're moving in retrograde to a time when people had to experience live musicians in order to get their artistic fix." As musicians, if we can strategize on that premise then we may actually be better off. How many weddings feature recordings of string quartets instead of actual musicians? The danger will be the potential gigs playing inside elevators." ***************************************** Dave, I only wish I could be that optimistic. Bill Dinwiddie ------------------------------ Message: 9 Date: Wed, 21 Jun 2006 09:53:00 -0500 From: "Jeff Albert" Subject: Re: [Trombone-l] Towards Cultural Oblivion To: "dslide13@aol.com" Cc: TROMBONE-L@server5.samford.edu Message-ID: Content-Type: text/plain; charset=ISO-8859-1; format=flowed On 6/21/06, dslide13@aol.com wrote: > > My initial response to this was to think, "Good. We're moving in > retrograde to a time when people had to experience live musicians in > order to get their artistic fix." As musicians, if we can strategize > on that premise then we may actually be better off. How many weddings > feature recordings of string quartets instead of actual musicians? The > danger will be the potential gigs playing inside elevators. I think Petrillo already had that idea. "Recordings are bad for musicians." I don't think it ever really rang true. Jeff -- www.jeffalbert.com www.scratchmybrain.com www.pepperenterprises.com ------------------------------ Message: 10 Date: Wed, 21 Jun 2006 11:15:38 -0400 From: dslide13@aol.com Subject: Re: [Trombone-l] Towards Cultural Oblivion To: jeffalbert.smb@gmail.com Cc: TROMBONE-L@server5.samford.edu Message-ID: <8C8635CB00D5529-1574-17A@mblk-d16.sysops.aol.com> Content-Type: text/plain; charset="us-ascii"; format=flowed I hear you with that. Perhaps recordings are good, but recording companies are bad. And, the MPF is a very clunky solution to the perceived problem. David Gibson trombonist/educator www.jazzbone.org -----Original Message----- From: Jeff Albert To: dslide13@aol.com Cc: billdin@comcast.net; TROMBONE-L@server5.samford.edu Sent: Wed, 21 Jun 2006 09:53:00 -0500 Subject: Re: [Trombone-l] Towards Cultural Oblivion On 6/21/06, dslide13@aol.com wrote: My initial response to this was to think, "Good. We're moving in retrograde to a time when people had to experience live musicians in order to get their artistic fix." As musicians, if we can strategize on that premise then we may actually be better off. How many weddings feature recordings of string quartets instead of actual musicians? The danger will be the potential gigs playing inside elevators. I think Petrillo already had that idea. "Recordings are bad for musicians." I don't think it ever really rang true. Jeff -- www.jeffalbert.com www.scratchmybrain.com www.pepperenterprises.com ________________________________________________________________________ Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ------------------------------ _______________________________________________ Trombone-l mailing list Trombone-l@maillists.samford.edu http://maillists.samford.edu/mailman/listinfo/trombone-l End of Trombone-l Digest, Vol 17, Issue 21 ******************************************